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Tom McCarthy

Tom McCarthy ’s Satin Island is out in 2015.

On Realism and the Real

Tom McCarthy, 18 December 2014

In the introduction to the 1995 reissue of his 1973 masterpiece Crash, J.G. Ballard discusses ‘the balance between fiction and reality’. ‘We live,’ he writes, ‘in a world ruled by fictions of every kind – mass merchandising, advertising, politics conducted as a branch of advertising, the pre-empting of any original response to experience by the television screen. We live inside an enormous novel. It is now less and less necessary for the writer to invent the fictional content of his novel. The fiction is already there.

‘Ulysses’ and Its Wake

Tom McCarthy, 18 June 2014

How​ do you write after Ulysses? It isn’t just that Joyce writes better than anyone else (although he does), it’s the sense that Ulysses’s publication represents a kind of rapture for literature, an event that’s both ecstatic and catastrophic, perhaps even apocalyptic. A certain naive realism is no longer possible after it, and every alternative, every avant-garde...

Toussaint

Tom McCarthy, 11 February 2010

For any serious French writer who has come of age during the last 30 years, one question imposes itself above all others: what do you do after the nouveau roman? Alain Robbe-Grillet, Claude Simon et compagnie redrew the map of what fiction might offer and aspire to, what its ground rules should be – so much so that some have found their legacy stifling. Michel Houellebecq’s response has been one of adolescent rejection, or, to use the type of psychological language that the nouveaux romanciers so splendidly shun, denial: writing in Artforum in 2008, he claimed never to have finished a Robbe-Grillet novel, since they ‘reminded me of soil cutting’.

Steven Hall’s ‘The Raw Shark Texts’

Tom McCarthy, 1 November 2007

Six years ago, at the First Committee Meeting of the International Necronautical Society, an organisation set up to explore ‘the cultural parameters of death’ – why not? – the INS’s Chief Obituary Reviewer (my sister Melissa) announced that she would be conducting a study of surfers, whom she ‘suspected were onto something’. Six months later, I and...

From The Blog
9 November 2011

In 2004, after I gave an artist’s talk in a gallery in Berlin, a group of people strode up to speak to me. They were, they told me, followers of the media theorist Friedrich Kittler, members of his entourage – or, to give it its semi-official name, the Kittlerjugend. They used this last term not without irony; but it was the type of irony that masks seriousness, in the way that Hamlet’s pretending to be mad acts as a cover for him actually being mad. The shoulders of the lead delegate, a charismatic Russian émigrée named Joulia Strauss, were wrapped in a hand-woven silk shawl bearing a large reproduction of al-Jazeera’s test pattern. My art project, they informed me (it involved a narrative of radio transmission and network infiltration), met with their approval – that is, with the approval of the man himself, or at least (and perhaps equally importantly) of his aura.

Tom McCarthy

Christopher Tayler, 20 May 2015

By the end​ of the 1980s, two formerly arcane disciplines with roots in the French 1940s were readily available to British aspirants. One was post-structuralism, which not many years earlier...

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Tom McCarthy’s ‘C’

Jenny Turner, 9 September 2010

For the final part of this novel’s first movement, our young hero, Serge Carrefax, travels to Kloděbrady’, a presumably Austro-Hungarian spa town, to take a cure. It’s 1913,...

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Not a Disaster Novel

Daniel Soar, 9 March 2006

Some people won’t read novels. I understand. I’m close to not wanting to read novels myself: they’re trying, and often seem the same. But one thing all fiction guarantees is...

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